Simon brings a learned hand to this bright history of the circus, which emblazons as it preserves the magic.
From the Roman arena to the Pickle Family, Simon (Emerita, English/Skidmore Coll.; Coco Chanel, 2011, etc.) explores the tropes and stylings of the many-headed creature known as the circus.
When you come down to it, writes the author, the “body as spectacle is the origin of the circus.” She locates that origin, of a performer surrounded by a crowd of spectators, in the Roman arena—not in the gladiator fights or the chariot races but in the light diversion between the carnage: funambulists, tumblers, jugglers and acrobats. The performers eventually branched out, accompanied by dancing turkeys, climbing monkeys and walking dogs, to rites, festivals and fairs, gathering steam and polish as they competed with the theater and opera. As a popular pastime, they would flaunt the wild and subversive, and the clown would emerge from the itinerant troupes of bawdy characters performing pantomimes. Throughout, Simon demonstrates her understanding that circuses are mystical and complex, full of dazzle and escapism, both social and sexual—for who did not want to possess one of those fine bodies on exhibition? In a not-so-surprising turn of events, the upper crust got involved, with nobles taking to the ring and leotard: “The cult of gymnastics, many critics held, was motivated not by a desire to improve health but rather by anxiety over the degeneration of the race, specifically of the wealthy and privileged.” As the author travels back and forth from the intimate one-ring European circuses to the three-ring big top, she plucks out certain elements to highlight: the grand entrances of circuses to towns or cities; the individual feats of the human cannonball, equilibrist, contortionist and stunt riders; and the grift and vulgarity that sparked the sanctimony of the moralists. The book also contains dozens of illuminating photographs that complement the text.
Simon brings a learned hand to this bright history of the circus, which emblazons as it preserves the magic.Pub Date: Nov. 12, 2014
ISBN: 978-1780233581
Page Count: 288
Publisher: Reaktion Books
Review Posted Online: Sept. 8, 2014
Kirkus Reviews Issue: Oct. 1, 2014
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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